Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 14 52 2026 06 22 Typology of Javāb-e Āvāz in Iranian Classical Music Through a Formalist Reading Based on Defamiliarization(Case Study: Instances of Javāb-e Āvāz in the Album Nawā: Morakkab-Khāni) Typology of Javāb-e Āvāz in Iranian Classical Music Through a Formalist Reading Based on Defamiliarization(Case Study: Instances of Javāb-e Āvāz in the Album Nawā: Morakkab-Khāni) 46 53 242611 10.22034/jaco.2026.547682.1496 FA Hossein Khoshchehreh Ziba Department of Music, Faculty of Architecture and Art, University of Guilan, Rasht, Iran 0009-0000-1635-9999 Simin Azaripour Department of Art Research, Faculty of Research Excellence in Art and Entrepreneurship, Art University of Isfahan, Iran 0009-0004-2264-1121 Journal Article 2025 09 17 The present study aims to propose a framework for the classification, nomenclature, and analysis of various types of Javāb-e Āvāz, as one of the two fundamental components of the säz-o-āvāz form in Iranian classical music. Since no systematic research has yet been conducted to formulate a methodical approach in this field, the authors, recognizing the necessity of addressing this subject, employed thematic analysis to conduct a detailed examination of the different layers of säz-o-āvāz, particularly the Javāb-e Āvāz, and to identify the relationships emerging within both theoretical and practical domains. In this regard, the theoretical framework of the research was founded on the concept of defamiliarization; accordingly, various types of Javāb-e Āvāz were examined as devices aimed at disrupting auditory expectations and foregrounding the musical language. The säz-o-āvāz pieces in the album Nawā: Morakkab-Khāni, a comprehensive and precise model for the typology of Javāb-e Āvāzs, were selected as the case study, as they fulfill the requirements of this research in line with its scientific and practical objectives. Situated within the constructivist-interpretivist paradigm, this study adopted a formalist approach, falling under the category of analytical case study research. Data collection was based on library documents, and sampling was conducted using criterion-based sampling. As a result, the classification derived from this analysis, as proposed by the authors, was as follows: 1- defamiliarization in Javāb-e Āvāz dependent on the modal factor: Mod-Pardāz and Mod-Gardān; 2- defamiliarization in Javāb-e Āvāz dependent on the factor of musical meters: Mowzun and Nime-mowzun; 3- defamiliarization in Javāb-e Āvāz based on formal literary patterns: Vāj-ārā, Mostazādi, and Talmiḥi-Tażmini; and 4- defamiliarization in Javāb-e Āvāz based on distancing from the vocal line: Doragāh/Chandragāh. The proposed classifications in this study can contribute to a more precise understanding of the performative structures in säz-o-āvāz accompaniments in Iranian classical music and pave the way for future research in this field. The present study aims to propose a framework for the classification, nomenclature, and analysis of various types of Javāb-e Āvāz, as one of the two fundamental components of the säz-o-āvāz form in Iranian classical music. Since no systematic research has yet been conducted to formulate a methodical approach in this field, the authors, recognizing the necessity of addressing this subject, employed thematic analysis to conduct a detailed examination of the different layers of säz-o-āvāz, particularly the Javāb-e Āvāz, and to identify the relationships emerging within both theoretical and practical domains. In this regard, the theoretical framework of the research was founded on the concept of defamiliarization; accordingly, various types of Javāb-e Āvāz were examined as devices aimed at disrupting auditory expectations and foregrounding the musical language. The säz-o-āvāz pieces in the album Nawā: Morakkab-Khāni, a comprehensive and precise model for the typology of Javāb-e Āvāzs, were selected as the case study, as they fulfill the requirements of this research in line with its scientific and practical objectives. Situated within the constructivist-interpretivist paradigm, this study adopted a formalist approach, falling under the category of analytical case study research. Data collection was based on library documents, and sampling was conducted using criterion-based sampling. As a result, the classification derived from this analysis, as proposed by the authors, was as follows: 1- defamiliarization in Javāb-e Āvāz dependent on the modal factor: Mod-Pardāz and Mod-Gardān; 2- defamiliarization in Javāb-e Āvāz dependent on the factor of musical meters: Mowzun and Nime-mowzun; 3- defamiliarization in Javāb-e Āvāz based on formal literary patterns: Vāj-ārā, Mostazādi, and Talmiḥi-Tażmini; and 4- defamiliarization in Javāb-e Āvāz based on distancing from the vocal line: Doragāh/Chandragāh. The proposed classifications in this study can contribute to a more precise understanding of the performative structures in säz-o-āvāz accompaniments in Iranian classical music and pave the way for future research in this field. http://www.jaco-sj.com/article_242611_0cf18a3afcaf80697370dd3f156bf4d7.pdf